Ivanhoe by Arthur Sullivan You are here: Archive Home > Arthur Sullivan > Major Works > Ivanhoe On Thursday, June 19, 1890, The Times announced: Sir Arthur Sullivan is passing the summer at Weybridge in order to devote his time entirely to the score of his new opera, of which the libretto, founded on Sir Walter Scott’s “Ivanhoe,” has been written by Mr. Julian Sturgiss (sic). Mr. Ben Davies will sustain the title rôle, and Mr. Oudin will play the Templar, the music for which part is being specially composed for him. It is hoped that the work will be produced during the month of November at Mr. D’Oyly Carte’s new theatre. Ivanhoe, Sullivan's only Grand Opera, with libretto by Julian Sturgis, eventually opened at Carte's new theatre, The Royal English Opera House, on 31 January, 1891.

Ivanhoe by Arthur Sullivan An Account of the Composition and Production of Ivanhoe from Thirty Years of Musical Life in London, 1870-1900 by Hermann Klein (Published in 1903) The early months of 1891 witnessed a very remarkable operatic experiment. New forces were at the back of it, and it was destined to mark the climax of the modern development of English opera. Had the scheme succeeded in its integrity, the operatic history of the next dozen years would have had to be rewritten; as it was, an individual artistic triumph was hampered by a Quixotic managerial policy, and the ambitious enterprise resulted in a regrettable failure. The late Richard D'Oyly Carte was a excellent man in his own sphere of action at the Savoy Theatre. He thoroughly understood the business of mounting the unique comic operas of Gilbert and Sullivan, and of sending them round the globe in the hands of well-trained companies. But about the organisation and management of serious opera he knew absolutely nothing. Shade of Carl Rosa!

Imagine the fatuity of building a large and costly theatre on Shaftesbury Avenue, bestowing upon it the high-sounding title of the "Royal English Opera", engaging a double company, and opening with a repertory of - one work! Never was the initial error of placing the whole of the golden eggs in a single basket more surely followed by the destruction of the goose that laid them! Great was the faith of D'Oyly Carte in Arthur Sullivan. But not even the genius of that fine musician, as exemplified in his first grand opera Ivanhoe, was capable of withstanding so rude a test. Like one of the thoroughbred horses he loved so well, Ivanhoe ran a great race, achieved a "best on record", and then collapsed from sheer exhaustion. It has never raced since. Sullivan wrote "Ivanhoe", so to speak, with his life-blood. He slaved at it steadily from May till December, and put into it only his best. For weeks before he finished it he was inaccessible; the Christmas of 1890 was no holiday for him.

The rehearsals had begun long before the orchestration was ready, and the opera was to be produced on January 31, 1891, at the latest. By the first week of the new year the score was completed. Then Sir Arthur told me I might come to Queen's Mansions to hear some of the music. To my great delight, he played several of the numbers for me. I found them picturesque, dramatic, original, and stamped throughout with the cachet which the world understands by the word "Sullivanesque". I was particularly struck by the Oriental character in Rebecca's song, "Lord of our chosen race", and I told Sullivan that nothing could be more distinctively Eastern or even Hebraic in type. "That may well be so," he rejoined. "The phrase on the words 'guard me' you especially refer to is not strictly mine. Let me tell you where I heard it. When I was the 'Mendelssohn scholar' and living in Leipsic, I went once or twice to the old Jewish synagogue, and among the many Eastern melodies chanted by the minister, this quaint progression in the minor occurred so frequently that I have never forgotten it." It certainly comes in appropriately here.

The libretto of Ivanhoe was from the fluent pen of Julian Stugis, the author of Nadeshda. It won praise as a skilful and fairly dramatic adaptation of Scott's novel and a polished example of poetic lyric-writing. The work generally I described at the time as "one which rivets the attention of the spectator from the moment the curtain is raised; which is strong and sympathetic in action and picturesque in story; which is rich in melody and replete with musical interest and contrast; and which, finally, is presented with a perfection of executive detail such as English opera never enjoyed before". It was acclaimed with the utmost warmth by an audience which included the composer's ever-constant friends and patrons, the Prince and Princess of Wales, and the Duke and duchess of Edinburgh.

The cast on the first night comprised Marguerite Macintyre (Rebecca), Esther Palliser (Rowena), Ben Davies (Ivanhoe), Norman Salmond (Richard Cur de Lion), Ffrangcon Davies (Cedric), Charles Kenningham (De Bracy), Avon Saxon (Friar Tuck), Charles Copland (Isaac of York), and that gifted American barytone, Eugène Oudin, who made a brilliant début in the part of the Templar. The composer held the baton. The opera was at once scheduled "for a run", with two distinct casts, the alternative group including Miss Thudichum as Rebecca, Lucile Hill as Rowena, Franklin Clive as King Richard, Joseph O'Mara as Ivanhoe and Richard Green as the Templar. The strain of this test was marvellously borne. For no fewer than one hundred and sixty consecutive representations did Ivanhoe draw large and enthusiastic audiences - far and away the longest unbroken run ever accomplished by a serious opera. Then, at the end of July, it was withdrawn, and the house closed until November, when an English version of André Messager's successful comic opera La Basoche was brought out.

This did fairly well, but it is noteworthy to-day only from the fact that it enabled Mr. David Bispham, by his clever singing and acting, to make a deep impression at his first appearance upon the London stage. D'Oyly Carte now doubtless imagined that he possessed the foundation of a repertory, and he revived Ivanhoe to run alternately with La Basoche - Barton Mc Guckin filling the title-rôle while Medora Henson was the Rowena. But the public quickly undeceived the too sanguine manager. It stayed severely away. The drawing power of Sullivan's beautiful opera had been exhausted; and on January 16, just a fortnight short of twelve months after its auspicious opening, the Royal English Opera was finally closed - the strangest comingling of success and failure ever chronicled in the history of British lyric enterprise! Sir Arthor Sullivan: Ivanhoe - Chandos Records - CHA 10578 - 095115157824 - HBDirect Genres Sir Arthor Sullivan: Ivanhoe Running time: 2 hr. 45 min.

Mono/Stereo: Stereo List Price: $49.99 Your Price: $44.83 In Stock, usually ships in 24 hours * Arthur Sullivan (1842 - 1900) Notes & Reviews: 'Ivanhoe', perhaps Sir Walter Scott's most popular novel, was the perfect choice for historical opera and launched by D'Oyly Carte's ambitious English Royal Opera (now home to the Palace Theatre) where this romantic opera of three hours ran with a double cast in one of London's largest and most expensive theatres, on consecutive nights, for 155 performances. 'Ivanhoe' was written when Sullivan was at the height of his powers, with his typical fluency in word-setting and mastery of orchestration, and it breathes his natural empathy and humanity. This is the first professional commercial recording of 'Ivanhoe' and features a fine cast. The recording is dedicated to the memory of Richard Hickox who was instrumental in getting the project off the ground.

"Arthur Sullivan's Ivanhoe is among the most prominent works on the list of operas that almost everyone has heard of, but that almost no one has heardWhile Ivanhoe is certainly not going to find a place in, or even at the fringes of the standard repertoire, this recording should go a way toward putting to rest the platitude that England was an arid operatic wasteland between Dido and Aeneas and Peter Grimes Lloyd-Jones leads the opera with loving attention to detail and to its dramatic arc, drawing committed performances from the orchestra and chorus. All of the soloists are very fine and several are exceptionalChandos' sound is clean and presentIvanhoe should be of strong interest to fans of late Romantic opera." - All Music Guide "Sullivan's tuneful score makes for pleasant listening in this recording, planned for the late Richard Hickox, but stylishly conducted by David Lloyd-Jones. A fine British cast is headed by Toby Spence and Geraldine McGreevy, with James Rutherford as the lustful baddie." -Sunday Times *** "Here at last is a recording...that makes the best possible case for the opera.

David Lloyd-Jones conducts with an ideal balance of swagger and lyricism...Anyone who enjoys the serious side of Sullivan, as in The Yeomen of the Guard, will find much to enjoy here" -The Observer "That this first fully professional recording so clearly outclasses two previous semi-professional efforts is due above all to David-Lloyd-Jones's dramatic pacing... The three key roles are well cast. Toby Spence admirably balances heroic and lyrical demands... James Rutherford as Sir Brian de Bois-Guilbert and Geraldine McGreevy as Rebecca combine to bring the most out of Act 2, Scene 3 - the opera's musical high point." -Gramophone Magazine "Toby Spence is an impeccable Ivanhoe opposite Janice Watson's aristocratic, if effortful Rowena.

But it's Geraldine McGreevy and James Rutherford, astonishing as Rebecca and Brian, who will really sweep you away." -The Guardian "From the lively pomp of the jousting scene, with its brilliant double chorus, to moments of exquisite tenderness and passion, to thrilling battles and powerful drama, this recording makes a compelling case for a monumental work that deserves a modern audience." -Graham Rogers, bbc.co.uk Notes & Reviews: British Classical Music: The Land of Lost Content: Arthur Sullivan: Ivanhoe - a romantic opera. ‘Smart, well-written and knowledgeable’ – Saga Magazine Sunday, 21 February 2010 Arthur Sullivan: Ivanhoe - a romantic opera. Over at MusicWeb International Raymond J Walker has given an encouraging review of the exciting new Chandos edition of the ‘grand’ opera Ivanhoe by Sir Arthur Sullivan. For anyone who imagines that Sullivan did not exist as an operatic composer apart from his collaborator W.S. Gilbert, this will come as a pleasant surprise. Ivanhoe is a large, romantic opera in three long acts which push towards three hours. The libretto, by Julian Sturgis, is based on the well-known novel by Sir Walter Scott.

The first night was at the English Opera House (now the Palace Theatre) on 31 January 1891. It was immensely successful and ran for 155 consecutive performances. It is on my list of CDs to purchase! Raymond J. Walker begins his review by lamenting the fact that “it is amazing that we have had to wait so long for the first professional recording of Sullivan’s only grand opera.” He is impressed with the “the singers [who] provide a polished performance, sing superbly and support each other admirably…The chorus is fine and adds considerable weight to the opera.” Finally he concludes that “For too long the establishment has turned its back on the rich scores of 19th century British composers. Ivanhoe should have been a central work to the 2000 Proms when Sullivan’s centenary took place. We owe it to musicians like Sir Charles Mackerras, Ronald Corp and David Lloyd-Jones to remind us of our previous loss in this genre.” This new recording from Chandos has been substantially supported by the Sir Arthur Sullivan Society’s. .

Sullivan: Ivanhoe: Amazon.co.uk: Music Listen Now Buy: Â£0.79 Sold by Amazon Media EU S.à r.l.. By placing your order, you agree to our Terms of Use . Product Description Product Description J. Watson & G. McGreevy, sopranos- C. Wyn-Rogers, mezzo-soprano - T. Spence, P. Wedd & A. Staples, ténors - P. Rose, basse - J. Rutherford & N. Davies, barytons... - Adrian Partington Singers - BBC National Orchestra of Wales - David Lloyd-Jones, dir. Review With Ivanhoe Arthur Sullivan finally fulfilled his life-long ambition to write a grand opera. Though his worldwide fame today rests on the still phenomenally popular comic operas he wrote with W S Gilbert, Sullivan considered himself to be primarily a ‘serious’ composer whose prodigious talents were wasted on such frivolities. Posterity has disagreed: for years Ivanhoe has been relegated to a mere footnote.

But now, thanks to this first professional recording, we have the chance to reassess a work that enjoyed an astonishing initial run in 1891 of 155 performances – the like of which composers today can only dream – and which stands as an important milestone in the development of English opera. Sullivan frequently complained that he was fed-up with Gilbert’s Topsy Turvy world (though his sparkling musical settings suggest otherwise) and longed for human emotion. So it was natural that Walter Scott’s popular romantic novel, set in England at the time of the Crusades, appealed. The story (elements of which are familiar today as Robin Hood tales) had the additional attraction of nationalist themes well-tailored for Victorian tastes; arguably, these have made the opera less palatable to subsequent generations, but its swashbuckling excitement and engaging love-tangles are timelessly captivating. Sullivan’s epic score is highly inventive.

Listeners expecting the bubbly tune-smithery of the Savoy Operas will generally be disappointed: there are some memorable lighter moments, such as Friar Tuck’s “Ho, Jolly Jenkin” song, in a winsome “Olde English” style, but on the whole the music is enthrallingly serious. Substantial stretches, particularly those involving the menacing Templar Sir Brian de Bois-Guilbert, have great Wagnerian depth, and the score is woven through with effective leitmotifs. This new account, boasting a strong cast of top British singers, is thoroughly committed, with vibrant playing from the BBC National Orchestra of Wales under the steady hand of David Lloyd-Jones. There are a few passages where inspiration seems to flag – either from composer or conductor – but in general this is a terrific achievement. From the lively pomp of the jousting scene, with its brilliant double chorus, to moments of exquisite tenderness and passion, to thrilling battles and powerful drama, this recording makes a compelling case for a monumental work that deserves a modern audience.

--Graham Rogers Amazon.co.uk:Customer Reviews: Sullivan: Ivanhoe Customer Reviews 3.6 out of 5 stars 11 Price:£22.47+ Free shipping with Amazon Prime Your rating( Clear )Rate this item 44 people found this helpful 5.0 out of 5 starsThe rehabilitation of an important work ByChristopher Cannon 2 February 2010 This recording has been awaiting for so long - the old Pearl recording was useful to be able to hear the work, but really did not do full justice to the majesty of Sullivan's score, written at the height of his powers and with a degree of commitment often missing from his labours for the Savoy. So high was the anticipation for this recording that I, for one, was terrified that the finished product could not live up to the hyperbole. However, I need not have worried, as this whole set oozes with the love and attention that has clearly been lavished on the entire project, from the preparation of a new performing edition (could this be a prelude to a staging somewhere......please?!) to the superb notes and essays in the accompanying booklet. The performance is wonderfully conducted with superb pacing from David Lloyd-Jones.

The fine ensemble cast (and that is itself an important point) is perfectly suited to their roles and they seem fully at home with the fach. In the title role, Toby Spence really seems to have come of age and his Wilfred is beautifully sung. Most notably for me, he also manages to make the potentially mawkish act III aria "Happy with winged feet" sound ardent and interesting. His pairing with Janice Watson's ravishing Rowena is delightful, particularly in their Act I duet. The principal antagonist, Brian de-Bois-Guilbert (would Sullivan have referred to him as Gilbert?) is splendidly taken by James Rutherford though I personally would have liked a little more menace in "Woo thou the snowflake", which IMHO should be sung like Scarpia in the Te deum, but this is a very small caveat. His extended scene with Geraldine McGreevy's Rebecca is thrilling and had me on the edge of my seat - also in this scene we are treated to the positively wagnerian Ulrica of Catherine Wyn-Rogers, with her song of braiding tresses and daughters of Valhalla!

The other roles are equally well taken, with special mention for Matthew Brook's characterful Friar Tuck and Neal Davies' noble King Richard. They give a wonderful introduction to the jousting scene with their witty verbal sparring and are a total joy in the "duel of song" in Act II, particularly in Brook's rumbustuous "Ho jolly jenkin". The Chorus sing lustily, whether as Cedric's grizzled old saxon warriors in Act I, the massed populace at the tournament, or as Locksley's merry men, and they seize their opportunities with gusto. The one genuine "crowd scene" at the Ashby lists has a wonderfully spacious feel and their double chorus (Sullivan could not resist inserting his operatic trademark, even in his one grand opera) is exhilarating. So, all-in-all, a wonderful set which will hopefully persuade people to reassess this most curious and fascinating of British operas. At the very least, it gives the lie to those who claim that British opera begins with Peter Grimes! 10 people found this helpful 3.0 out of 5 starsIvanhoe or Rebecca and Rowena.

A Romantic Opera by Sturgis and Sullivan ByMr. T. Harveyon 10 September 2010 I have always admired Sullivan's skilful orchestration and his adroit setting of words, so came to 'Ivanhoe' with high expectations. On the whole, I was not disappointed. In 'Ivanhoe' the orchestration allows the words to be heard, helped by a good libretto and the generally excellent diction of the singers. The opera is well constructed: each act consists of three scenes and librettist Julian Sturgis has managed to retain the essential features of Scott's original novel. However, he would have had the advantage of knowing that the first audiences would be very familiar with the story - 'Ivanhoe' was probably one of the most widely read novels in the 19th century. Sullivan has a sure musico-dramatic touch and Act 1 in particular builds to an effective climax. The assault on Torquilstone Castle in Act 3 is also well done, with Rebecca providing the commentary as she views the action from a window, whilst the orchestra represents the fighting.

Highlights for me were Rowena's aria 'O moon, art thou clad in silver mail' (1:8); Brian de Bois-Guilbert's aria at 2:9 'Her southern splendour, like the Syrian moon', which Sullivan sets for cor anglais and strings; Rebecca's lament 'Lord of our chosen race' at 2:12; and a very menacing spinning song in E minor 'Whet the keen axes' which is sung by Ulrica at 2:10. The Plantaganesta chorus at 1:12 is also very fine. I enjoyed the badinage between King Richard and Friar Tuck in Act 2 Scene 1, but felt that the outlaws' singing & dancing which opens Act 3 Scene 2 is a misjudgement after the tension built up in the previous scene. The booklet contains libretto and excellent analytical notes (none of this downloading from the Internet nonsense) though I did feel that the writers, William Parry and Martin T.Yates, make claims for the opera that don't hold up. It is enjoyable and entertaining, but it is not a masterpiece.

Format: Audio CD This recording has been awaiting for so long - the old Pearl recording was useful to be able to hear the work, but really did not do full justice to the majesty of Sullivan's score, written at the height of his powers and with a degree of commitment often missing from his labours for the Savoy. So high was the anticipation for this recording that I, for one, was terrified that the finished product could not live up to the hyperbole. However, I need not have worried, as this whole set oozes with the love and attention that has clearly been lavished on the entire project, from the preparation of a new performing edition (could this be a prelude to a staging somewhere......please?!) to the superb notes and essays in the accompanying booklet. The performance is wonderfully conducted with superb pacing from David Lloyd-Jones. The fine ensemble cast (and that is itself an important point) is perfectly suited to their roles and they seem fully at home with the fach. In the title role, Toby Spence really seems to have come of age and his Wilfred is beautifully sung.

Most notably for me, he also manages to make the potentially mawkish act III aria "Happy with winged feet" sound ardent and interesting. His pairing with Janice Watson's ravishing Rowena is delightful, particularly in their Act I duet. The principal antagonist, Brian de-Bois-Guilbert (would Sullivan have referred to him as Gilbert?) is splendidly taken by James Rutherford though I personally would have liked a little more menace in "Woo thou the snowflake", which IMHO should be sung like Scarpia in the Te deum, but this is a very small caveat. His extended scene with Geraldine McGreevy's Rebecca is thrilling and had me on the edge of my seat - also in this scene we are treated to the positively wagnerian Ulrica of Catherine Wyn-Rogers, with her song of braiding tresses and daughters of Valhalla! The other roles are equally well taken, with special mention for Matthew Brook's characterful Friar Tuck and Neal Davies' noble King Richard.

They give a wonderful introduction to the jousting scene with their witty verbal sparring and are a total joy in the "duel of song" in Act II, particularly in Brook's rumbustuous "Ho jolly jenkin". The Chorus sing lustily, whether as Cedric's grizzled old saxon warriors in Act I, the massed populace at the tournament, or as Locksley's merry men, and they seize their opportunities with gusto. The one genuine "crowd scene" at the Ashby lists has a wonderfully spacious feel and their double chorus (Sullivan could not resist inserting his operatic trademark, even in his one grand opera) is exhilarating. So, all-in-all, a wonderful set which will hopefully persuade people to reassess this most curious and fascinating of British operas. At the very least, it gives the lie to those who claim that British opera begins with Peter Grimes! 0Comment | 44 people found this helpful. Was this review helpful to you? Yes No Report abuse Please write at least one word You must purchase at least one item from Amazon to post a comment A problem occurred while submitting your comment. Please try again later.

Format: Audio CD Sir Arthur Sullivan's 'Ivanhoe', written between 1890 and 1891, has long been a misunderstood pinnacle of this composer's output. Written to inaugurate Richard D'Oyly Carte's Royal English Opera House (now the Palace Theatre), it opened to great public acclaim and ran for an unprecedented 155 consecutive performances, yet it has been labelled a failure by subsequent historians. As the lavish booklet informs us the failure of the enterprise was entirely due to Carte's uncharacteristically short-sighted policy of running the opera "to death" in order to recoup costs rather than integrating it into a sympathetic repertoire of native works. 'Ivanhoe' is a succession of gorgeous pictures arranged into a pageant. This is not to imply that the narrative (as fashioned by Julian Sturgis) is in any way defective, but rather that events are concentrated into key incidents with very little superfluous padding.

Immediately the opera begins, we sense the forward impetus as we are plunged straight into the drama of a confrontation between Ivanhoe's Saxon father, Cedric, the Norman Knights Maurice de Bracy and Brian de Bois Guilbert, and Ivanhoe himself (in disguise): as scene succeeds scene, the story unfolds vividly and the action moves swiftly. Sullivan was careful to describe 'Ivanhoe' as a 'Romantic' rather than a 'Grand' opera and this distinction should be remembered when assessing the work. It builds upon a strong native tradition of highly attractive romantic works by Edward Loder ('Raymond and Agnes', 1855), William Wallace ('Lurline', 1860) and George Macfarren ('Robin Hood', 1860) rather than the intense emotional drama of Verdi or the intellectual symbolism of Wagner. This new performance comprehensively confirms 'Ivanhoe' as a major contribution to the corpus of British opera.

Arthur Sullivan was undoubtedly both the greatest melodist and the most ingenious orchestrator amongst his 19th Century British contemporaries (without intending any disrespect to Parry, Stanford, Cowen or Mackenzie), and, as the Hyperion recording of the cantata 'The Golden Legend' (1886) showed, there is simply no comparison between the printed vocal score of any Sullivan work and the aural experience of the full orchestral score. The instrumentation of 'Ivanhoe' is one of its glories, with the composer making masterly use of an orchestra much larger than he customarily had at the Savoy Theatre.

This opera is full of marvellous 'set pieces': Rowena's "O Moon, art thou clad" (Act I, scene ii), the thrilling chorus "Plantagenesta" and the excitement of the tournament at Ashby-de-la-Zouche (Act I, scene iii), Friar Tuck's "Ho, Jolly Jenkin" (Act II, scene i), the Templar's aria (Act II, Scene ii), the great duet between the Templar and Rebecca (Act II, scene iii), the siege of Torquilstone (Act III, scene i) and the reconciliation between Cedric and Ivanhoe (Act III, scene ii). What this new recording also confirms is the fact that the whole opera is consistently inspired and that for a work close to three hours in length, unlike the case with many other so-called operatic classics, there are very few longeurs. The pacing of 'Ivanhoe' is crucial and David Lloyd-Jones keeps things moving briskly along. The BBC National Orchestra of Wales clearly revel in the virtuosic nature of the score and they are beautifully recorded by Chandos.

The Chorus (trained by Adrian Partington) are excellent, providing secure singing and real characterisation in their contributions, whilst the roster of soloists is exceptional. Toby Spence is ideally cast as the romantic hero, Matthew Brook brings out all the humour in the part of Friar Tuck, Neal Davies is suitably regal as Richard the Lionheart, Peter Wedd imparts a suave nonchalance to the role of de Bracy, James Rutherford is outstanding as Bois-Guilbert, and the roles of Rowena and Rebecca are in the supremely capable hands of Janice Watson and Geraldine McGreevy respectively. This richly enjoyable new recording of Sir Arthur Sullivan's 'Ivanhoe' follows a succession of recent 'landmark' recordings of British music from Chandos: Dyson's 'Quo Vadis?', Bantock's 'Omar Khayyam', Vaughan Williams' 'The Poisoned Kiss' and Foulds' 'A World Requiem'. 'Ivanhoe' is a more than worthy addition to this splendid enterprise and the set is dedicated to the memory of the late Richard Hickox who was originally scheduled to direct it.

It is no small praise to David Lloyd-Jones to state that here he guides a performance which could not readily be bettered. 0Comment | 42 people found this helpful. Was this review helpful to you? Yes No Report abuse Please write at least one word You must purchase at least one item from Amazon to post a comment A problem occurred while submitting your comment. Please try again later. Showing 0 of 0 comments Sort by: I have always admired Sullivan's skilful orchestration and his adroit setting of words, so came to 'Ivanhoe' with high expectations. On the whole, I was not disappointed. In 'Ivanhoe' the orchestration allows the words to be heard, helped by a good libretto and the generally excellent diction of the singers. The opera is well constructed: each act consists of three scenes and librettist Julian Sturgis has managed to retain the essential features of Scott's original novel. However, he would have had the advantage of knowing that the first audiences would be very familiar with the story - 'Ivanhoe' was probably one of the most widely read novels in the 19th century.

Sullivan has a sure musico-dramatic touch and Act 1 in particular builds to an effective climax. The assault on Torquilstone Castle in Act 3 is also well done, with Rebecca providing the commentary as she views the action from a window, whilst the orchestra represents the fighting. Highlights for me were Rowena's aria 'O moon, art thou clad in silver mail' (1:8); Brian de Bois-Guilbert's aria at 2:9 'Her southern splendour, like the Syrian moon', which Sullivan sets for cor anglais and strings; Rebecca's lament 'Lord of our chosen race' at 2:12; and a very menacing spinning song in E minor 'Whet the keen axes' which is sung by Ulrica at 2:10. The Plantaganesta chorus at 1:12 is also very fine. I enjoyed the badinage between King Richard and Friar Tuck in Act 2 Scene 1, but felt that the outlaws' singing & dancing which opens Act 3 Scene 2 is a misjudgement after the tension built up in the previous scene.

The booklet contains libretto and excellent analytical notes (none of this downloading from the Internet nonsense) though I did feel that the writers, William Parry and Martin T.Yates, make claims for the opera that don't hold up. It is enjoyable and entertaining, but it is not a masterpiece. Format: Audio CD I love Sullivan, both the with and without Gilbert works. He always wanted to be taken seriously as an opera composer and the good news is that there is a work in which he scales the heights of lyric drama. Unfortunately it's not this but the 1898 `Beauty Stone'. This is a competent professional rendition of a work that posterity has justly neglected. The contents of CD 1 - `Oh Moon thou art clad' apart - are particularly turgid, whilst CD3 - apart from the section around the forest scene - is similarly uninspired. Most of the best music is on the middle CD, with Rebecca's `Lord of our Chosen race' through to the end of her duet with the baritone being the strongest section of the opera.

`Ho Jolly Jenkin' is the best known excerpt from the opera but even this is pretty uninspired fare - Sullivan wrote a much better drinking song for bass/baritone and chorus (`the grand old days of yore') in the following year's Haddon Hall. This would have made a decent highlights CD but there's simply not enough decent music to justify buying this recording. If you want a decent contemporaneous English opera listen to Ethel Smyth's `The Wreckers'. Or Sullivan's own `Beauty Stone', which really has been unjustly neglected. 0Comment | 7 people found this helpful. Was this review helpful to you? Yes No Report abuse Please write at least one word You must purchase at least one item from Amazon to post a comment A problem occurred while submitting your comment. Please try again later. If you are lover of the Gilbert and Sullivan operettas, then of course you must hear Sullivan's Ivanhoe and thank the heavens that he concentrated on operettas. Although it is splendid to have a professional recording of the composer's only grand opera, Sullivan lack of harmonic and melodic invention in the work is shocking when you are are acustomed to hearing his delightful operetta scores.

It just sounds like he didn't have his heart in it. The libretto by Julian Sturgis is very stale without much cleverness and practically no rhyme. The transitions are clumsy; acts end suddenly. There is also a failure to build a true climax in many of the scenes. There are some pretty arias (particulary the one for Rebecca) and interesting choral scenes. But it all adds up to less than the experience you might expect. One must wonder how much better a Gilbert libretto would have been for the piece and how much better Sullivan would have probably responded. However, some of the fault must go to Chandos's misguided effort. Although there is excellent playing from the orchestra, David Lloyd-Jones seems bored with score. Every "Allegro" is moderately taken. Nothing moves; there is virtually no interpretation. I sat listening to the reading with the vocal score and all sorts of opportunities for dramatic thrust and theatrical effect were left behind in a generally thoughtful, by the book, safe reading of a score that cries out for a conductor's imagination. Beecham conducted the work and I can only think how much better it must have sounded with his added sparkle.

The second major disappointment is the poor level of singing from some of the principals. In particular, Janice Watson's Rowena is a disaster. The voice is thin when a voluptuous tone is obviously required. Everything above a high "G" is forced and the upper notes around "Bb" are pushed in what can only be considered an amateurish way. There were better sopranos in D'Oyly Carte and Malcom Sargent recordings of the operettas. Additionally, many of the baritones in the recording spread badly above a middle "C". In particular, Peter Rose as Cedric, Matthew Brook as Friar Tuck, and Leigh Melrose as Issac all have poor upper registers and simply bellow the climatic passages. Stephen Gadd is excellent as Prince John and although Neal Davies displays a good solid tone as Richard, he barely has the low notes in what should have been cast with heftier bass-baritone. Curiously, the two tenors do themselves justice (contrary to Gilbert's parody of them in Utopia Ltd.). Geraldine McGreevy as Rebecca is everything Ms. Watson is not; beautifully intoned singing with a decent upper pianissimo and steady high notes.

Lastly, the character of Ulrica requires a wonderful Gilbertian contralto. Catherine Wyn-Rogers is a fine singer, but simply not dark or bold enough for the part. Perhaps the best thing in recording is the choral contribution which is excellent throughout. One must be grateful to have at least a "musical" performance with so-called professionals. However, one must wonder who is running the casting of singers at Chandos; or more to the point, one must decry the sorry state of British singing if this is the best they can do. Format: Audio CD Some of the writing is very fine, in a way that is completely different from the Savoy operas. Reading between the lines, this work is a casualty of Richard D'Oyly Carte's business model or, to be kinder, arts funding at the time. Sullivan's work ran for 6 months and was delivered more or less on time.

Carte seems to have either committed the cardinal error of not commissioning enough or failed to persuade or find enough composers to create a flow of works to ensure he could continue to establish a tradition of grand opera in English - the 3 other works commissioned did not see the light of day, and non-English works were presented, before the house was sold some 2 years after the Ivanhoe première. Given that the dedication was to Queen Victoria, it's strange that there was no reaction from that quarter. Possibly the disruption with Gilbert is part of the cause. The Gondoliers had been presented at Windsor and the "carpet quarrel" was really about Carte collaborating with Sullivan, while cutting Gilbert out of the picture. Still, Sullivan ended up having not one, but two, theatres built in London to present his work - no mean achievement. Format: Audio CD Although I may not share the general enthusiasm with which this recording has been greeted on the Internet, I did enjoy hearing it and will probably return to it with pleasure. Is it a lost or neglected masterpiece? Not in my opinion. I found the first act to be very dull.

The performance really didn't pick up until the quite thrilling chorus "Plantagenesta!" in the final scene of the first act. Acts Two and Three are much more interesting. But on the whole I thought there was an odd lack of melodic sweep throughout the work. True, Sullivan was trying to define a truly "English" style, but what comes across has about as much romance as bangers and mash when compared with the late romantic music coming from across the channel - particularly from Italy and Germany - at the same time. Don't get me wrong, though. There are some wonderful passages of music. The singing contest between King Richard and Friar Tuck in Act Two is delightful and Act Three has a beautiful quartet. On the whole, I thought Rebecca has the best music and the part is very well sung by Geraldine McGreevy. Indeed, the recording boasts an excellent cast in all parts. King Richard gets a much larger part in the opera than in the novel and Neal Davies presents humour, nobility and fine singing in the part. Peter Rose and Toby Spence as Cedric and Ivanhoe also deserve special mention. Catherine Wyn-Rogers came across as both addled and creepy as the crazed Ulrica.

The Lady Rowena is sung by Janice Watson whose tone is a bit blowsy for my taste. (I thought the same of her Elisabeth of Valois in the recent Opera in English recording of "Don Carlos.") Enjoy this recording for what it is - a worthwhile curiosity. 0Comment | 6 people found this helpful. Was this review helpful to you? Yes No Report abuse Please write at least one word You must purchase at least one item from Amazon to post a comment A problem occurred while submitting your comment. Please try again later. Format: Audio CD Composed around the time of Yeoman of the Guard.This is an altogether "more serious work" - I beleive even Sullivan thought you couldn't have too much fun in an Opera. This is a shame this work does not share the vivacity that I had hoped for but does musically share a lot with the Savoy operas. It is a case that Sullivan would not have been the great man he is now without his association with Gilbert - no wonder the other was so furious about the lack of a knighthood.

This is however being able to look back in comfort and hear an opera long out of the repetoire - I would be surprised if it was given an airing by the ENO but then i never mind being proved wrong. You, however, may love it. 0Comment | 3 people found this helpful. Was this review helpful to you? Yes No Report abuse Please write at least one word You must purchase at least one item from Amazon to post a comment A problem occurred while submitting your comment. Please try again later. Format: Audio CD After the almost hymnic critics of Sullivan`s opera I bought immeditaley the recording and was deeply disappointed. First of all the music wirtten around 1890 is boring and absoloutely backward. Nothing of late Wagner`s or Verdi`s harmonic or dramatic achievements in opera seem to have reached good old Sullivan who transports his light operetta style to the grand stage. No wonder that the comic episodes with King Richard and the friar ar the best of the whole work. Some chorus passages are impressive but the rest is absolute mediocre. The performance sounds very good, most singers do an appelaing job, only Janice Watson disconcerts with heavy tremolo and bad intonation.

For me time has jugdged properly: This weak opera has not been unjustly forgotten.

Question: Who in 1890, composed the music for the opera 'Ivanhoe'?
Answer: SIR ARTHUR SULLIVAN